Word: guitar
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Dates: during 1990-1999
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...Built to Spill legend starts back in the early '90s in beautiful and scenic Boise, Idaho. Somewhere between potato farms and militia members, Boise managed to churn out Doug Martsch, leader and resident guitar god of Built to Spill. First came Ultimate Alternative Wavers, a perplexing title for a perplexing album. A dense and jagged slice of paranoid pop, the album only hinted at the musical mazes that were yet to pour out of Martsch's head...
When Martsch announced he had finished Built to Spill's sophomore album, everyone expected the long, languished and sometime lost guitar heroics that had dominated the first release. Once again, more hype for the band to prove wrong. With There's Nothing Wrong with Love, Martsch set his sights at pure pop bliss captured in the moments of everyday life...
...veers from one violently brilliant extreme to another. Some shows tumble into unbelievable 30-minute long jams on b-sides of singles released five years ago. Others are made up of drop-dead perfect sonic recreations of the album, filled out with the intensity of Martsch flailing at his guitar before your eyes. Then again, Martsch has probably completely rewritten the Built to Spill playbook by now, just to keep us critics on our toes. The only way to find out for sure? Check it out yourself...
...liquefied our hearts, he then covered Peter Gabriel's "In Your Eyes," again with just his acoustic guitar and Ghegan's sax. Not overly talkative at the mic, Pat maintained a continual dialogue with his audiences through his music and his presence...
...Dylan plugged in his guitar, turned on to an electric sound and tuned out the chiding and disgust of fans who felt he had abandoned folk music. With "Maggie's Farm" Dylan broke with what many considered an unwritten contract forged among artists including Joan Baez, Woody Guthrie and other poets who put politically conscious poetry to music. At Newport he shouted back at hecklers who called him Judas; Dylan later proclaimed that he no longer considered himself an anti-war, singularly motivated musician and sought instead to represent only himself and his music...